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A Moebial Ride through Polanski’s Repulsion 波兰斯基的《斥力》之旅
IF 0.1
CINEJ Cinema Journal Pub Date : 2020-12-03 DOI: 10.5195/cinej.2020.323
Defne Tüzün
{"title":"A Moebial Ride through Polanski’s Repulsion","authors":"Defne Tüzün","doi":"10.5195/cinej.2020.323","DOIUrl":"https://doi.org/10.5195/cinej.2020.323","url":null,"abstract":"This article examines Roman Polanski’s film Repulsion from a psychoanalytic perspective by attending Julia Kristeva’s notion of abjection. This paper deals primarily with two main focal points. First, it focuses on the film’s portrayal of the protagonist, Carole’s abjection, her problem of non-differentiation, as evidenced by her relation to the maternal body and to corporeality. Secondly, the article investigates how the film positions its viewers with regard to Carole. It questions how Repulsion impels its spectators to engage Carole with a similar non-differentiation by generating a complex web of ambiguities with regard to the differentiation between external/internal, objective/subjective and reality/fantasy.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"89 1","pages":"426-456"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79530328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Antiochia As A Cinematic Space and Semir Aslanyürek as a Film Director From Antiochia 《安条基亚的电影空间》和《作为安条基亚电影导演的Semir aslanyrek》
IF 0.1
CINEJ Cinema Journal Pub Date : 2020-12-03 DOI: 10.5195/cinej.2020.279
Selma Köksal Çekiç
{"title":"Antiochia As A Cinematic Space and Semir Aslanyürek as a Film Director From Antiochia","authors":"Selma Köksal Çekiç","doi":"10.5195/cinej.2020.279","DOIUrl":"https://doi.org/10.5195/cinej.2020.279","url":null,"abstract":"This study will look at cinematic representation of Antiochia, a city with multiple identities, with a multi-cultural, long and deep historical background in Turkish director Semir Aslanyürek’s films. The article will focus on Aslanyürek’s visual storytelling through his beloved city, his main characters and his main conflicts and themes in his films Şellale (2001), Pathto House (2006), 7 Yards (2009), Lal (2013), Chaos (2018). Semir Aslanyürek was born in Antiochia in 1956. After completing his primary and secondary education in Antiochia (Hatay), he went to Damascus and began his medical training. As an amateur sculptor, he won an education scholarship with one of his statues for art education in Moscow. After a year, he decided to study on cinema instead of art. Semir Aslanyürek studied Acting, Cinema and TV Film from 1980 to 1986 in the Russian State University of Cinematography (VGIK), Faculty of Film Management, and took master's degree. While working as a professor at Marmara University, Aslanyürek directed feature films and wrote many screenplays. This article will also base its arguments on Aslanyürek's cinematic vision as multi-cultural and as a multi-disciplinary visual artist.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"418 1","pages":"377-402"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79509820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The Urbanization of Labor and Its Struggle for Unionism in Turkish Cinema 土耳其电影中劳工的城市化及其对工会主义的斗争
IF 0.1
CINEJ Cinema Journal Pub Date : 2020-12-03 DOI: 10.5195/cinej.2019.239
H. Yüksel
{"title":"The Urbanization of Labor and Its Struggle for Unionism in Turkish Cinema","authors":"H. Yüksel","doi":"10.5195/cinej.2019.239","DOIUrl":"https://doi.org/10.5195/cinej.2019.239","url":null,"abstract":"The main purpose of the study is to investigate the emergence of labor and its struggle for unionism in Turkey in parallel to the process of urbanization on the basis of a particular Turkish employee film named after The Blood Money (Diyet). What I am trying to argue is that labor has become a labor and unionism has converted into a professional and institutional background in the aftermath of the announcement of Republican period despite some ups and downs. In 1950s, the capital was urbanized which was the case for labor in the 1960s and hereafter.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"64 1","pages":"150-194"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84799459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Wild Pear Trees, Patrimonial Legacies: Father-Son Relationship in Nuri Bilge Ceylan's The Wild Pear Tree 野梨树，世袭的遗产:努里·比尔奇·锡兰的《野梨树》中的父子关系
IF 0.1
CINEJ Cinema Journal Pub Date : 2020-12-03 DOI: 10.5195/cinej.2019.233
Coşkun Liktor
{"title":"Wild Pear Trees, Patrimonial Legacies: Father-Son Relationship in Nuri Bilge Ceylan's The Wild Pear Tree","authors":"Coşkun Liktor","doi":"10.5195/cinej.2019.233","DOIUrl":"https://doi.org/10.5195/cinej.2019.233","url":null,"abstract":"This article analyzes the father-son relationship in Nuri Bilge Ceylan’s latest film The Wild Pear Tree (2018), which tells the story of a son who desires a life as unlike his father’s narrow, provincial life as possible, only to find himself following in his father’s footsteps almost against his will. Drawing upon Freudian and Lacanian psychoanalysis, this article examines the film as an oedipal drama that portrays the predicament of a son who grapples with an ineffectual, humiliated father that fails to embody the paternal function. It undertakes to show how the father-son conflict eventually culminates in the father’s transformation from an object of contempt into an identificatory ideal for his son, who becomes heir to a legacy of disillusionment and thwarted hopes.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"2 1","pages":"119-149"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84192726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Shattered Identity of Immigrant Artist and Creation of Art in a Hybridized Space: The Case Study of A Girl Walks Home Alone at Night 移民艺术家身份的破碎与杂化空间中的艺术创作——以《一个女孩深夜独自回家》为例
IF 0.1
CINEJ Cinema Journal Pub Date : 2020-12-03 DOI: 10.5195/cinej.2020.220
Hoda Shabrang
{"title":"Shattered Identity of Immigrant Artist and Creation of Art in a Hybridized Space: The Case Study of A Girl Walks Home Alone at Night","authors":"Hoda Shabrang","doi":"10.5195/cinej.2020.220","DOIUrl":"https://doi.org/10.5195/cinej.2020.220","url":null,"abstract":"In this article, first the “paradox of assimilation and difference” and its consequences will be discussed and next the movie A Girl Walks Home Alone at Night by Ana Lily Amirpour who is an immigrant IranianAmerican director will be analyzed. The aim is to show how her shattered identity as an immigrant is represented in her art. Her movie is an amalgamation of different signs from both cultures. These signs are not completely related to host culture (American) or local culture (Iranian). Although this impossible situation seems very painful at the first glance, it is beneficial for immigrant artist. In this hybridized space, she creates a kind of art which is very innovative and unique, because she is not forced to follow the cliché styles which those cultures are dictating her.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"11 1","pages":"45-61"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79846678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
review of Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance 伊朗电影中的寓言:诗歌美学与反抗
IF 0.1
CINEJ Cinema Journal Pub Date : 2020-05-03 DOI: 10.5195/cinej.2020.292
Negar Taymoorzadeh
{"title":"review of Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance","authors":"Negar Taymoorzadeh","doi":"10.5195/cinej.2020.292","DOIUrl":"https://doi.org/10.5195/cinej.2020.292","url":null,"abstract":"","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"65 10","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138503880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Review of Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance 伊朗电影中的寓言:诗歌美学与反抗
IF 0.1
CINEJ Cinema Journal Pub Date : 2020-05-03 DOI: 10.5195/cinej.2020.293
Negar Taymoorzadeh
{"title":"Review of Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance","authors":"Negar Taymoorzadeh","doi":"10.5195/cinej.2020.293","DOIUrl":"https://doi.org/10.5195/cinej.2020.293","url":null,"abstract":"Michelle Langford, Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance. London: Bloomsbury Publishing, 2019. xiii + 278 pp. ISBN 9781780762982","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"106 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81237621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
From Box office to memory: Telling stories is not an innocent act 从票房到记忆:讲故事不是单纯的行为
IF 0.1
CINEJ Cinema Journal Pub Date : 2020-04-16 DOI: 10.5195/cinej.2020.182
Ayla Kanbur
{"title":"From Box office to memory: Telling stories is not an innocent act","authors":"Ayla Kanbur","doi":"10.5195/cinej.2020.182","DOIUrl":"https://doi.org/10.5195/cinej.2020.182","url":null,"abstract":"Throughout human history to narrate have had crucial function to construct a society with meanings culturally binding its members and to sustain them for generations in society. Epic stories, proverbs, historical tales are such narratives which, in particular, form patterns for the “shared conceptual framework” of members of a culture. Thus, narratives, in a broadest sense circulate within a society through individual memories of its members and serve to communicate and create meanings by operating like language.Films Bread and Roses by Ken Loach (2000) and Maid in Manhattan (2002) by Wayne Wange intersect with their narrative tools indicating how individual and cultural memory overlap globally within international film industry.   ","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"65 11","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138503879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Remembering Thomas Elsaesser and Peter Wollen 纪念托马斯·埃尔萨塞尔和彼得·伍伦
IF 0.1
CINEJ Cinema Journal Pub Date : 2020-03-11 DOI: 10.5195/cinej.2020.286
Murat Akser
{"title":"Remembering Thomas Elsaesser and Peter Wollen","authors":"Murat Akser","doi":"10.5195/cinej.2020.286","DOIUrl":"https://doi.org/10.5195/cinej.2020.286","url":null,"abstract":"Late in 2019 film studies lost two of its founding members that help define the field as a discipline with their work in the last 50 years. Thomas Elsaesser was one of the founding members of the editorial board of CINEJ Cinema Journal . His contribution to the study of German Cinema, founding of Amsterdam School of Cultural Studies and training of countless PhD students in the field will be a long-lasting legacy for this giant figure of cinema and media studies. Peter Wollen will be remembered for his Signs and Meaning in the Cinema and as the father of structuralism in film studies. Along with his partner Laura Mulvey he will also be remembered as a pioneering experimental media producer.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"370 1","pages":"1-13"},"PeriodicalIF":0.1,"publicationDate":"2020-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76315300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Deglamming as Estrangement: Ugly in Monster, The Hours, and Cake 消解作为隔阂:《怪物》、《时时刻刻》和《蛋糕》中的丑陋
IF 0.1
CINEJ Cinema Journal Pub Date : 2020-03-11 DOI: 10.5195/cinej.2020.268
Sharrona Pearl
{"title":"Deglamming as Estrangement: Ugly in Monster, The Hours, and Cake","authors":"Sharrona Pearl","doi":"10.5195/cinej.2020.268","DOIUrl":"https://doi.org/10.5195/cinej.2020.268","url":null,"abstract":"In this paper, I explore female actresses undergoing radical or seemingly radical physical transformation in service of a broader kind of career transformation.  I problematize the simple calculation of deglamming, thinking more closely about the ways that celebrity structure raises challenges to actors and especially actresses attempting to engage with against-type characters.  I turn specifically to three well-known examples of this trend: Charlize Theron in Monster (2003), Nicole Kidman in The Hours (2002), and Jennifer Aniston in Cake (2014).  I argue that the process we see is not about deglamming (or getting ugly) for its own sake.  Deglamming in these cases is a process of estrangement: from beauty, from the celebrity machine, from audience expectations.  I draw on screen shots, film reviews and interviews to explore the relationship between deglamming and estrangement as a kind of acting and character technique, paying particular attention to the stakes for presenting historical characters in biopics.  And while the three films I examine here – Monster , The Hours , and Cake – are often thought together as examples of actress Oscar uglification, they are actually quite different, both in terms of the physical transformations the actresses underwent in service of their characters, and the ways in which these transformations were understood and received.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"16 1","pages":"218-248"},"PeriodicalIF":0.1,"publicationDate":"2020-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79846770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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